Wyniki wyszukiwania - Biblioteka Nauki

1

Stylizacja na język potoczny w tłumaczeniu kanadyjskiej dramaturgii mniejszościowej na przykładzie polskiej wersji sztuki La Défaite Georges’a Bugneta

100%

Czubińska M.

Między Oryginałem a Przekładem

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2015

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tom 30

9-24

EN

Recourse to „oralité” in written texts, which is specific to the Francophone communities in Canada, poses a challenge to a translator who needs to reinvent the idiolects in the target language. The aim of this paper is to present translation methods proposed and applied by the translator so as to reproduce in Polish the contrasts present in the original discourse. As stylization is the main strategy used by the Polish translator of Georges Bugnet’s La Défaite, different types of stylization, its methods, purposes as well as the risks of the particular choice of stylization, especially in a context of drama translation, are to be determined and described.

2

Polish translations of Restoration comedy in early Communist period: the cross-section of ideology and academy

88%

Cetera-Włodarczyk A. , Pożar P.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2021

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tom 24

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nr 1

136-145

EN

The article sets out to explore the ideological complexity of the Polish reception of English Restoration Drama in the early Communist period, i.e. in the 1950s and beyond. With the relatively early influx of Shakespeare's repertoire popularized by strolling companies as early as the 16th century, the subsequent decades saw a steady decline of this cultural trend, leaving English Restoration drama entirely outside Polish theatrical experience for three centuries. However, the postwar period saw a surprising development of academic interest in Restoration comedy and even more so in the social processes which these plays were said to expose. Steeped in heavy Marxist jargon, the studies of English Restoration comedies foregrounded the analysis of the newly emergent capitalist relations, the hypocrisy and moral decay of the ruling elites, and the relevance of the new approach to the historical reading of literature. While the enterprise failed on theatrical grounds, the emergent translations can be said to exemplify an interesting case of ideological patronage which brought to light works entirely dismissed by previous ages and allowed them to sustain the initial propagandistic pressure.

3

Receptive Aesthetic Criteria: Reader Comparisons of Two Finnish Translations of "Hamlet"

75%

Keinänen N.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2018

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tom 18

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nr 33

23-42

EN

This article examines the subjective aesthetic criteria used to assess two Finnish translations of Hamlet, one by Eeva-Liisa Manner (1981) and the other by Matti Rossi (2013), both accomplished translators for the stage. A survey consisting of one general question (“Briefly describe your idea of how Shakespeare translation should sound in Finnish, and what you think are the qualities of a good Shakespeare translation”) and five text extracts was distributed on paper and electronically, generating 50 responses. For the extracts, respondents were asked whether one or the other translation most closely dorresponded to their idea of what a Shakespeare translation should sound like and why, along with questions on whether they would prefer to see or read one or the other. The results show that there are no strong shared expectancy norms in Finland regarding Shakespeare translation. Manner was generally felt to be more concise and poetic, while Rossi was praised for his exquisite use of modern Finnish. Respondents agreed that rhythm was an important criterion, but disagreed on what sorts of rhythms they preferred. Translation of the “to be or not to be” speech raised the most passions, with many strongly preferring Manner’s more traditional translation. The results suggest that Shakespeare scholars would do well to take variations in expectancy norms into account when assessing and analysing Shakespeare in translation.

4

Gdy retranslacja jest normą: Polskie przekłady Shakespeare’a w XX i XXI wieku

75%

Cetera-Włodarczyk A.

Pamiętnik Teatralny

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2024

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tom 73

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nr 4

13-33

EN

This article deals with retranslation practice on the example of Polish Shakespeare translations in the 20th and 21st century. The aim of the article is (1) to define retranslation in the context of centuries-long, intense critical and theatrical reception of European canonical drama, (2) to discuss the profile of Polish Shakespeare translations in the 20th and 21st century, particularly with regards to (re) translation strategies and modes of promotion/dissemination of translations in the target culture, (3) to account for the co-existence of numerous retranslations given the strong diversification of patronage and the growing importance of digital resources. Special attention is given to the specificity of retranslation practice when Shakespeare’s plays are fully assimilated into Polish literary and theatrical culture, the retranslation dynamics depends on theatrical and ideological factors, and translators combine retranslation with their own literary agendas. The article concludes with a discussion of the impact of digital resources on translation canonicity and possible decline of logocentric drama translation theories.

PL

Artykuł poświęcony jest praktyce retranslacji w odniesieniu do polskich przekładów dramatów Williama Shakespeare’a w XX i XXI wieku. Jego celem jest: 1) próba zdefiniowania retranslacji w warunkach wielowiekowej recepcji dramatów z kanonu europejskiego, charakteryzujących się intensywną recepcją teatralną i krytyczną; 2) przegląd polskich zasobów tłumaczeń Shakespeare’a w XX i XXI wieku, z uwzględnieniem strategii (re)translacji oraz specyfiki promocji/upowszechniania retranslacji w docelowej przestrzeni kulturowej; 3) refleksja nad współistnieniem przekładów Shakespeare’a w warunkach rozproszonego mecenatu, z rosnącym znaczeniem zasobów cyfrowych. W szczególny sposób rozpatrywana jest kwestia wyodrębnienia się praktyki retranslacji w warunkach pełnej asymilacji dramaturgii Shakespeare’a w polskiej kulturze literackiej i teatralnej, uzależnienie dynamiki retranslacji od uwarunkowań teatralnych i ideologicznych, a także powiązań retranslacji dramatu z twórczością własną tłumaczy. Konkluzję artykułu stanowią uwagi o wpływie zasobów cyfrowych na wyznaczniki kanoniczności przekładów, a także o potencjalnym schyłku logocentrycznych doktryn przekładowych.

5

„Trafiają się przekłady bardzo dobre i wtedy jest wielkie święto”: Kultura przekładu w „Dialogu” – wstępne rozpoznanie

75%

Kamińska A.

Pamiętnik Teatralny

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2024

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tom 73

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nr 4

57-72

EN

In the history of literary translations into Polish, the monthly Dialog has played a special role. In a country where playtexts are seldom released in print, the periodical has been steadily printing contemporary drama translations for over fifty years. Still, its significance for the Polish translation culture is not widely appreciated, which can be concluded from the recent public debate surrounding the nomination of a new editor-in-chief by the supervizing institution linked to the right-wing government. The author investigates Dialog’s translation culture, offering preliminary remarks concerning three main issues: strategies of play selection, translator visibility, and translation editing, as well as identifying potential scope of future analyses.

PL

W historii polskiej literatury tłumaczonej z języków obcych czasopismo Dialog zajmuje szczególne miejsce. W kraju o słabej tradycji drukowania tekstów dramatycznych miesięcznik od przeszło pół wieku regularnie publikuje przekłady dramatów z krajów europejskich i pozaeuropejskich. Istotna rola Dialogu w kulturze przekładu w Polsce nie jest jednak powszechnie znana, co unaoczniły niedawne dyskusje towarzyszące kryzysowi w piśmie po mianowaniu przez instytucje związane z prawicowym rządem nowego redaktora naczelnego. Autorka przygląda się kulturze przekładu w Dialogu, formułuje wstępne rozpoznania dotyczące strategii doboru tekstów, widoczności tłumacza i praktyk w zakresie redakcji przekładów oraz określa możliwe kierunki dalszych analiz.

6

The Fifth Slovene Hamlet: Return to Tradition?

75%

Zlatnar Moe M.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2017

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tom 16

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nr 31

127-143

EN

Over the nearly two centuries that Hamlet has been a fixture of the Slovene cultural firmament, the complete text has been translated five times, mostly by highly esteemed figures of Slovene literature and literary translation. This article focuses on the most recent translation, which was done by the prominent Slovene drama translator Srečko Fišer for a performance at the National Theatre in Ljubljana in 2013. It examines the new translation’s relations to its source text as well as to the previous translations. After the late twentieth century, when Hamlet was regarded as a text to be challenged, this new translation indicates the return to the tradition of reverence both for the source text and its author, and for the older translations. This is demonstrated on all levels, from the choice of source text edition, which seems to bear more similarities with the older translations than with the most recent predecessors, to the style, which echoes the solutions used by the earlier translators. Fišer continues the Slovenian tradition to a far greater extent than the two translators twenty years ago, by using the same strategies as the early translators, not fixing what was not broken, and only adding his own interpretation to the existing ones, instead of challenging or ignoring them. At the same time, however, traces of subversion of the source text can be detected, not in the form of rebellion, but rather as a mild disregard. This latest translation is the first one to frequently reshuffle the text. It is also the first to subordinate meaning to style. This all indicates that despite the apparent return to tradition, the source text is no longer treated with the reverence of the past.

7

Przekład dramatu w polskiej literaturze przekładowej: Wstępne rozpoznania

51%

Bibik B.

Pamiętnik Teatralny

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2024

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tom 73

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nr 4

121-138

EN

This overview article presents the problems of translating dramas and texts for the stage as raised in the Polish reference literature on translation. It evokes both scholarly works and the translators’ own remarks on their workshop. Although drama translation has not drawn as much interest as the translation of poetry or literary prose, it is not a terra incognita in Polish reference literature. Publications on drama translation do exist, but they remain rather scattered. The author of the article focuses on the issues that definitely come to the fore in translation theory and practice, namely dialogue and the category of stageability, and she briefly signals other problems of drama translation.

PL

Artykuł o charakterze przeglądowym prezentuje problemy i tematy poruszane w polskiej myśli przekładoznawczej w zakresie tłumaczenia dramatów i tekstów scenicznych. Przypomniane zostały zarówno prace naukowe, jak i odautorskie wypowiedzi warsztatowe tłumaczy. Chociaż zainteresowanie przekładem dramatu ustępuje temu, którym cieszy się przekład prozy i poezji, jednak w polskiej literaturze przedmiotu nie jest to terra incognita. Istnieją publikacje na ten temat, ale pozostają rozproszone. Autorka koncentruje się na zagadnieniach, które w teorii i praktyce przekładu zdecydowanie wysuwają się na pierwszy plan: na dialogu oraz kategorii sceniczności, sygnalizując również inne problemy i zagadnienia związane z przekładem dramatów.

8

Questioning the ‘of’ in Performance-as-translation: Multimedia as a Subtext in the 2003 Pécs Performance ‘of’ Hamlet

51%

Minier M.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2017

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tom 16

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nr 31

89-108

EN

This article explores a theatre performance (National Theatre Pécs, 2003, dir. Iván Hargitai) working with a 1999 Hungarian translation of Hamlet by educator, scholar, translator and poet Ádám Nádasdy as a structural transformation (Fischer-Lichte 1992) of the dramatic text for the stage. The performance is perceived as an intersemiotic translation but not as one emerging from a source-to-target one-way route. The study focuses on certain substructures such as the set design and the multimedial nature of the performance (as defined by Giesekam 2007), and by highlighting intertextual and hypertextual ways of accessing this performance-as-translation it questions the ‘of’ in the ‘performance of Hamlet (or insert other dramatic title)’ phrase. This experimentation with the terminology around performance-as-translation also facilitates the unveiling of a layer of the complex Hungarian Hamlet palimpsest, which, as a multi-layered cultural phenomenon, consists of much more than literary texts: its fabric includes theatre performance and other creative works.